Lucian Ban & Elevation - Rush

Label: Sunnyside Records, 2026

Personnel - Lucian Ban: piano; Abraham Burton: tenor saxophone; John Hébert: bass; Eric McPherson: drums; Gavril Tarmure: vocals (#9).

Romanian-born pianist and composer Lucian Ban returns with Rush, a refreshingly vital album from his acclaimed group Elevation, featuring saxophonist Abraham Burton, bassist John Hébert, and drummer Eric McPherson.

The inspirations come from many sides. The opener, "Dark Blue”, is a dedication to pianist Abdullah Ibrahim — velvety, comforting contemporary jazz that revels in modal sophistication within an aesthetic that seems to intersect Mingus's ballads and Motian's soft lyric abstraction. Burton speaks wonders here, and I'm especially fond of the way Ban solos, using splendorous harmonic manifestations to accompany himself. "Serenade For Andrew" is a tribute to another great pianist, the inimitable Andrew Hill. Delivered in 3/4, this is solid post-bop with depth, a strong emotional center, and reverence for the man to whom this gripping composition is dedicated.

"Christine's Hope" is an Americana-tinged ballad, but the mood lifts with “Rush", whose traditionally lilting locomotion, cubist accentuations, imposing pedal points, and rhythmic complexity conjure an amalgamation of Thelonious Monk, Herbie Nichols, Charlie Parker, and Sam Rivers. "Congestion Tax", improvised spontaneously by the quartet, gradually lends the music its combustive edge, while the delicate "Chakra", written for Billy Strayhorn, seems to find some solace in Yusef Lateef's Eastern moods.

The music is permeated with interplay, sometimes leading to mesmerizing results, as in “Elevation", an achingly beautiful and leisurely illuminated ballad composed for Larry Willis, where the quartet showcases razor-sharp musicianship, sophistication, and passion for sound. Hébert's intimate lyricism is featured here, and the group's spotless dynamics leave us in awe.

The journey wraps up with "Golden Oriole”, a traditional folk song featuring Romanian singer Gavril Tarmure, whose genuine feeling is immediately apparent. He had collaborated with Ban on three folk-jazz crossover pieces included on Songs From Afar (Sunnyside, 2016).

These tautly arranged compositions are given fascinating colors, shades, and directions under the captivating performance of Ban's Elevation.

Favorite Tracks:
01 - Dark Blue ► 04 - Rush ► 05 - Elevation ► 07 - Chakra

Linda May Han Oh / Melissa Aldana - Beneath Lifted Skies

Label: Biophilia Records, 2026

Personnel - Linda May Han Oh: double bass; Melissa Aldana: tenor saxophone.

Bassist Linda May Han Oh and saxophonist Melissa Aldana are two respected bandleaders and composers with different styles and approaches but common journeys in life. Oh was born in Malaysia to parents of Chinese heritage, was raised in Australia, and moved to New York for a brilliant career, having played with Pat Metheny, Vijay Iyer, Joe Lovano, and Dave Douglas, among many others. Aldana is a native of Santiago, Chile, and has lived in New York since 2009, after graduating from Berklee College of Music. For this session, the duo agreed to play standards, showcasing reverence for jazz tradition and influences while also allowing new possibilities to emerge from the arrangements. Yet Beneath Lifted Skies also includes three duo improvisations and three solo bass tracks.

Charlie Parker’s “Anthropology” comes out of the gate with a vibrantly swinging mood, swift unisons, and exciting exchanges infused with a richness of ideas. Yet it doesn’t beat the fantastic rendition of Bud Powell’s “Hallucinations”, where the duo is at its best. Impressive synchronization, great melody, and a grooving, energizing vibe are part of a breathtaking interplay that demonstrates Oh’s immaculate technique and Aldana’s fluid language.

Ballads where melody reigns, such as Charles Mingus’ “Duke Ellington’s Sound of Love” and Sammy Fain’s “I’ll Be Seeing You”, make a great pair. Aldana’s quick-witted, arpeggiated sequences à la Charles Lloyd put a smokiness in the air. In turn, pieces by jazz giants Wayne Shorter (“Dance Cadaverous”) and John Coltrane (“26-2”) didn’t impress me as much. One that really gets under the skin is Gigi Gryce’s “Social Call”, a graceful, easy-rolling tune expressed with joyful hookiness.

Of the three improvised pieces, “Infinite” is the one that caught my ear instantly, relying on droning pedals and searching melodies to take us to a progressive yet atmospheric place. “Resolve”, which ends with a pedaling bass figure, also makes for a compelling abstract sonic painting.

Oh absolutely excels on her solo reframing of Herbie Hancock’s “The Sorcerer”, where edginess and roundness go together, creating an almost subliminal pulse. The bassist also tackles Billie Holiday’s “God Bless the Child”, delivered as a protest against child abuse, and introduces a new composition, “Winter”, where she employs expert pulses and slides to add novelty.

Demonstrating a quick-witted rapport, Oh and Aldana are two kindred spirits in conversation. They’ve already found their own voices in jazz, but together, they manage to offer a very enjoyable album with varied rhythm, groove, and breath. While old standards can sometimes feel stale, creative reinvention transforms them into a thrilling experience. Beneath Lifted Skies is an excellent case in point.

Favorite Tracks:
02 - Hallucinations ► 03 - Improvisation: Infinite ► 06 - The Sorcerer ► 10 - Social Call

Charles Lloyd - Sangam and Friends

Label: Blue Note Records, 2026

Personnel - Charles Lloyd: tenor saxophone, flute; Zakir Hussain: tabla, percussion; Eric Harland: drums; Vijay Prakash: vocals; Rakesh Chaurasia: bansuri; Sabir Khan: sarangi; Niladri Kumar: electric sitar;  Ranjit Barot: keyboards.

Everyone knows that Charles Lloyd’s music is a sea of authenticity that lifts the spirit and awakens the senses. Most of the tracks on Sangam and Friends, his new album serving as a homage to the late tabla player Zakir Hussain, were recorded live in Mumbai in 2009 for an album that was never released. Drummer Eric Harland is the third side of the triangle that composes Sangam, yet this date is enriched by a rotating lineup of standout Indian collaborators that includes vocalist Vijay Prakash, bansuri player Rakesh Chaurasia, sarangi player Sabir Khan, sitar player Niladri Kumar, and keyboardist Ranjit Barot.

As expected, the new album traffics in an outgoing blend of world fusion, avant-jazz, and post-bop that attains emotional peaks on “Bharati’s Dance, Tempo Divine” and “Sam on the Ganges”, a sprightly reimagining of Lloyd’s memorable tune “Sombrero Sam”. The former piece showcases Lloyd in top form, blowing impulsively and fabulously over Hussain’s entrancing tabla patterns and Harland’s smart drumming. This Indo-jazz breeze is also felt on the latter piece, where Barot’s keyboards reinforce the texture, paving the way efficiently for bansuri and tenor discourses. Carrying soulful, transcendental energy, both the sarangi and electric sitar contribute rich flavors to a delicately spicy whole.

The beautiful vocal work of Prakash is featured on the meditative introductory “Clear the Dust” and “The Blessing”, where Lloyd evokes “Tone Poem” in his mystic chants. “Jai Ganga”, a traditional piece drawn from the group’s archives, is a vivid, celebratory marching dedication to the sacred Ganges river, while “Tagore”, featuring Lloyd on flute, is a premium Carnatic output with a lingering melody and mesmerizing rhythm, recorded live in Santa Barbara, CA, in 2014. In turn, “Eternal Dreaming”, using a sustained chord as a drone, reflects a meditative temperament.

With the rhythm team put to excellent use throughout the recording, Sangam and Friends shares multicultural stories, keeping Lloyd’s distinct style front and center.

Favorite Tracks:
02 - The Blessing ► 05 - Bharati’s Dance, Tempo Divine ► 07 - Sam on the Ganges

Anggie Obin - Luz

Label: UnderPool, 2026

Personnel - Anggie Obin: flute; Bill McHenry: tenor saxophone; Miguel “Wiwi” Garcia: piano; Masa Kamaguchi: double bass; Estefania Chamorro: drums.

Rising Panamanian jazz flutist and composer Anggie Obin, who attended Berklee College of Music in Boston and is based in Barcelona, gathers a first-class quintet—American saxophonist Bill McHenry, Cuban pianist Miguel “Wiwi” Garcia, Japanese bassist Masa Kamaguchi, and Spanish drummer Estefania Chamorro—for a wonderful debut album that honors her musical mentors and her late great-grandmother. Luz was titled after the latter, an important pillar in her life. 

“For Mr. G” begins the album in warm modal complicity, with saxophone and flute beautifully interlocking through contrasting timbres. The piece, dedicated to saxophonist Carlos Garnett—with whom Obin first recorded professionally—features her wandering freely, choosing exquisite, breathy notes with spotless intonation that makes us search as much as she does. There’s also catchy melodic input from McHenry, who captures Coltranean vibes in his solo, while Kamaguchi showcases the foundational sophistication for which he is known.

“Flash of the Spirit”, a grateful nod to versatile bassist Santi Debriano, evolves with playful hard-bop flair, bluesy chops, and hints of Monk’s music. The quintet swings and grooves, revolving around freshly introduced ideas and a modern jargon that still drinks from the wells of tradition. Here, Obin is highly conversational in her statement, sounding as radiant as she does on “Luz”, where a delicate rubato introduction takes an emotional turn into a charming 3/4 drive. Obin’s expression is remarkable, Garcia’s measured piano playing comes wrapped in modal alchemy, while McHenry navigates abstract alleys of his own imagining.

“La Eucaristia” exudes solemnity and dark contours through its leaping angular melodies, featuring an exchange of rapid motifs between Obin and McHenry. If the that piece was inspired by experimental multi-instrumentalist Anthony Braxton’s work, then the mercurial “Ballot or the Bullet” is a blues inspired by human rights activist Malcolm X’s speech. Obin kills it with soulful tones and brilliant technique.

Recorded live at Estival de Jazz d’Igualada in Spain, Luz emphasizes the elasticity and potential of each composition, leaving a lasting impact. Obin’s highly attuned quintet cuts through modal post-bop and Panamanian roots with superb fluidity, providing an immersive listening experience.

Favorite Tracks:
01 - For Mr. G ► 02 - Flash of the Spirit ► 04 - Luz

Bryan Murray - Wolf

Label: Shifting Paradigm Records, 2026

Personnel - Bryan Murray: tenor saxophone; Adam Linz: bass; Dan Monaghan: drums.

Boasting a catchy sound and enjoying genuine freedom within the structure, saxophonist and composer Bryan Murray leads a supple chord-less jazz trio featuring bassist Adam Linz and longtime associate drummer Dan Monaghan. With friendship and collaboration at the center of Wolf, Murray—who also leads the peculiar avant-garde-meets-country band Bryan and the Haggards, is a member of Moppa Elliott’s Unspeakable Garbage, and has performed with David Byrne and St. Vincent outside the jazz sphere—explores his own music, radiating energy and abandon in a way that keeps listeners fully engaged.

“Bombs” kicks off with hooky, motivic saxophone firepower over agile drums and sturdy bass, channeling David S. Ware and the reed language of Threadgill’s Air over the tight-knit rhythmic web spun by Linz and Monaghan. Post-bop and avant-garde walk hand in hand here, while “Curtain”, delivered with a sensitive balladic touch, brings forth Monaghan’s mallet work and shimmering cymbal washes. There’s pensive lyricism cutting through the open spaces, and Murray’s cautious melody is closely shadowed by Linz.

Evoking childhood memories in West Virginia, “Dirtslide” displays an irreverent, hard-bop-inflected elegance over a full-throttle swing that is briefly suspended to accommodate the conversational interaction between Linz and Monaghan. Tactical bass mobility and crisp drumming dominate until Murray’s return, his playing abounding in ideas, supported by a firmly grounded and energetic rhythm section. The folksy theme of this piece contrasts with the pure modal jazz of “Buell”, a passionate prayer that recalls the spiritual hymns of John Coltrane and Billy Harper.

“Cloud Shapes” is anchored by Linz’s impeccable bass guidance, while Monaghan’s cymbal work and mallets transport us to distant worlds. Murray’s narrative gift is unmistakable here. The title track, “Wolf”, achieves an air of mystery through a simple yet relentless bass ostinato. Deliberately measured, it unfolds in a lugubrious 3/4, while the closer, “Fill Taker”, embraces avant-garde elasticity, with Murray’s authoritative presence enhanced by well-delineated lines and motifs over a vibrant rhythmic foundation.

This is stirring, serious sax-bass-drums work, resulting in a contemporary jazz album well worth digging into.

Favorite Tracks:
01 - Bombs ► 03 - Dirtslide ► 05 - Buell ► 08 - Fill Taker

Jeff Parker ETA IVtet - Happy Today

Label: International Anthem / Nonesuch Records, 2026

Personnel - Jeff Parker: guitar, electronics; Josh Johnson: alto saxophone, electronics; Anna Butterss: bass; Jay Bellerose: drums, percussion.

Chicago-based guitarist and bandleader Jeff Parker, a member of the post-rock band Tortoise and the Chicago Underground Trio as well as a sought-after sideman—having worked with Rob Mazurek, Joshua Abrams, Makaya McCraven, and, more recently, Flea—returns with his ETA IVtet project, featuring saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose. Recorded live at the Lodge Room in Los Angeles, Happy Today features two long-form improvised tracks where the group demonstrates unfailing communication while organically exploring well-structured, static spaces.

“Like Swimwear” starts off with a 16-beat-cycle guitar riff and patiently expands through understated bass maneuvers, micro-detailed saxophone fluctuations that evolve into spiritual Coltrane-like staccatos, and delicate, never obtrusive drum work. Parker designs chromatic figures up and down the fretboard, while Bellerose shifts the rhythmic feel, drawing positive reactions from the audience. Johnson responds with circular movements on his effects-drenched saxophone. A few minutes later, Butterss sets a new groove, and Parker responds with a long-toned, flickering chord that supports the ambient if grooving atmosphere. By the end, the band injects a bluesy feel, gently fusing soul-jazz sensitivity with affable psychedelia.

Immersed in these grooving atmospheres, the group eschews outbursts in favor of circularity and speech-inflected long tones, keeping their ears wide open and making decisions in the moment. This is especially noticeable on the title track, “Happy Today”, where they seep into the listener’s consciousness with a sustained chord, sparse bass commentary, and soaring saxophone lines before adding tumbling toms, rattling percussion, and shimmering cymbal washes. A six-beat groove is topped by a guitar riff, with Bellerose opting for a backbeat-driven pulse over which Parker’s snake-charmer-like phrases unfold until they exhaust their possibilities. It all ends with a fine pulse in five outlined by Johnson.

Happy Today’s low-key charm is rewarding for those willing to cool down in its waters.

Favorite Track:
02 - Happy Today

Christopher Dammann - Dead Words

Label: Shifting Paradigm Records, 2026

Personnel - Jon Irabagon: stritch; James Davis: trumpet; Jim Baker: piano, ARP 2600 synth; Christopher Dammann: double bass; Mike Reed: drums.

Chicago-based bassist and composer Christopher Dammann has a very limited discography as a leader, but that shouldn’t discourage you from checking out his latest work, Dead Words. On this album, five spiritual contrafacts are reimagined by Dammann’s cohesive and highly synergistic quintet, featuring the incomparable talents of saxophonist Jon Irabagon, trumpeter James Davis, keyboardist Jim Baker, and drummer Mike Reed.

With stately grandeur, “Montrose B” is an assertive opener, a pure post-bop piece that dazzles and invigorates. Following a magnetic bass introduction, the attractive theme is brought to the fore by the horn players, who exchange ideas freely under the spell of the swinging vibrancy coursing beneath them. Characteristically outgoing on stritch, Irabagon takes the first solo with the force of nature—he has a special edge to his playing—followed by Baker, whose delicate lyricism unfolds through dreamy sonorities, and then Davis, who, eschewing unnecessary flourishes, relishes the fleeting Latin-inflected passages woven into the swing.

Interesting enough to keep you fully engaged, the Sunny Murray-inspired “Untitled” is a hymn to avant-garde expressionism, shaped by the spacious, woozy, electronics-infused glitches and feedback of Baker’s semi-modular ARP synthesizer. Dammann’s constantly probing bass supports cyclical saxophone bursts interspersed with terse trumpet commentary and incisive synth textures. “Two Themes for Improvisation” also features Baker’s asynchronous synth transmissions and Irabagon’s spontaneous saxophone interjections, yet it is Dammann who takes the lead with his resonant arco work. Reed’s thoughtful snare and tom patterns stand out as the group navigates an abstract limbo, moving between climactic peaks and serene atmospheres with equal assurance.

If the two previously described pieces showcase the group’s indifference to orthodoxy in favor of freer experimentation, “White Gladis”, with Dammann’s haunting bow sweeping across the bass strings, returns the music to earth, finding its footing through counterpoint. Its lilting, blues-inflected modal mood bears resemblance to works by Sam Rivers, Charles Tolliver, and Stanley Cowell. Yet the tune was inspired by bassist Paul Chambers. Irabagon’s timbral flamboyance finds the perfect foil in Davis’ more restrained yet perfectly articulated phrasing. Both are also prominently featured on the closing track, “This Is an Unraveling”, where Dammann beautifully states the melody after introducing it with a catchy bass figure.

Dead Words offers propulsively swinging, muscular music delivered with an ideal balance of discipline and freedom, feeling simultaneously nostalgic and forward-looking. The equilibrium achieved is masterful, leaving us hoping Dammann returns soon with more music of this caliber.

Favorite Tracks: 
01 - Montrose B ► 03 - White Gladis ► This Is An Unraveling

Willber Sunlight - Willber Sunlight

Label: Endectomorph Records, 2026

Personnel - Kevin Sun: tenor saxophone; Max Light: guitar; Simón Willson: bass; Aaron Seeber: drums.

Willber Sunlight is the recently formed quartet of saxophonist Kevin Sun, guitarist Max Light, bassist Simón Willson, and drummer Aaron Seeber. The album, which celebrates jazz tradition and the friendship between these New York-based artists, features one original composition by each member alongside four thoughtfully selected covers, showing that the band can illuminate the music of masters such as Thelonious Monk, Robert Schumann, and Horace Silver. 

Sun’s swinging romp “Belong, Sonny”, whose title is an anagram of Benny Golson’s name, is a contrafact of his classic “Stablemates”. Rhythmically defiant, the piece is anything but static, featuring impish soloing by Light and Sun. The latter’s improvisation unfolds with pitch-perfect articulation, inventive motivic development, and a soulful expressive quality.

Willson’s “Easy Listening” develops with cool assurance, bringing together elements of pop, rock, and jazz. Light and Sun alternate solos with a solid mutual understanding, engaging in a communicative musical dialogue. Light’s “Bagel” embraces a relaxed pace and unaffected demeanor while revealing subtle details that showcase not only his compositional adroitness but also the quartet’s cohesion.

The band puts a fresh face on “Tea For Two”, played with confident uptempo drive, and Schumann’s “Des Abends”, whose gentle cross-rhythms and jazz-inflected arrangement make it feel like an entirely new creation. Monk’s “Locomotive” is an earworm that favors propulsion over abrasion, swinging lusciously from beginning to end.

Following Horace Silver’s celebrated ballad “Peace”, anchored by Seeber’s thoughtfully sizzling brushwork and Willson’s illustrative bass foundation, the album concludes with Seeber’s bop-infused “Teranga Bounce”, a joyful tribute to Charlie Parker that sounds as though it could have come straight from the bebop era.

Willber Sunlight invites enjoyment without necessarily lingering in the memory. It is an engaging listen—an unambiguous ode to jazz tradition and its enduring vitality.

Favorite Tracks:
01 - Belong, Sonny ► 04 - Bagel ► 05 - Des Abends

Steve Swallow - Winter Songs

Label: ECM Records, 2026

Personnel - Chris Cheek: tenor saxophone; Mike Rodriguez: trumpet; Gil Goldstein: piano; Steve Cardenas: guitar; Steve Swallow: electric bass; Adam Nussbaum: drums.

At 85, Steve Swallow sounds as inspired as ever, maintaining the stylistic poise on electric bass, post-bop refinement, and functional compositional forms that have defined both his solo career and his work with his late partner in music and life, Carla Bley, as well as Jimmy Giuffre, Gary Burton, and George Russell. More meditative than exploratory, Winter Songs is his first album in a decade, featuring nine untitled original compositions. For the occasion, he assembled a group of simpatico musicians—a frontline of savvy melodicists comprising tenor saxophonist Chris Cheek and trumpeter Mike Rodriguez, alongside a solid rhythm section with pianist Gil Goldstein, guitarist Steve Cardenas, and drummer Adam Nussbaum.

What the sextet plays is consistently lucid and alive, beginning with “One”, a smooth, elegant post-bop piece elevated by Goldstein’s magnetic pianism. Rodriguez demonstrates his trademark fluency and articulation, while Swallow and Nussbaum engage in empathic interplay beneath the surface. The piece culminates in a thematic unison before leading naturally into “Two”, a 3/4 delight in which Swallow’s electric bass gently propels the flow over Nussbaum’s supple brushwork. The drummer is deeply musical, softly caressing the kit to create an effortless sense of cohesion.

You can feel Swallow reconnecting with elements of his musical past, and “Three”, a 4/4 ballad harmonically enriched by Steve Cardenas’ guitar, together with “Four”, whose radiantly blissful, bohemian character carries an elegant swing, reminds us that jazz—in its purest forms—is far from dead. At the outset, Cheek unfolds a glossy improvisation before joining Rodriguez in persuasive unison figures that pave the way for Goldstein’s charismatic solo.

Cerebrally constructed, “Six” is a swinging vehicle for the horn players to stretch out, “Eight” is a slow-burning meditation with Cheek taking the lead, and “Nine” closes the album in a gently mournful mood. Winter Songs may not be particularly innovative, but it is infused with lyrical sophistication and harmonic finesse. Swallow’s instinctive, unforced playing continues to keep the finest traditions of jazz alive while subtly renewing them.

Favorite Tracks:
01 - One ► 04 - Four ► 06 - Six

Ralph Alessi - A Sun That Never Sets

Label: ECM Records, 2026

Personnel - Ralph Alessi: trumpet; Joseph Alessi: trombone; Matt Mitchell: piano; John Hèbert; bass; Ches Smith: drums. 

The last time American trumpeter and composer Ralph Alessi recorded with a quintet as a leader was 15 years ago with the sophomore album by his This Against That project. He returns with a completely different lineup, collaborating for the first time on record with his classically inclined trombonist brother, Joseph Alessi—an understated impressionist—and the supple rhythm section of pianist Matt Mitchell, bassist John Hébert, and drummer/vibraphonist Ches Smith, whose versatility works as a trump card in Alessi’s contemporary instrumental aesthetics.

Comprising seven originals, A Sun That Never Sets opens with the title track, a highly rhythmic clarion call marked by precise staccato attacks in a restless atmosphere suspended between a ceremonial procession and a hallucinogenic trip. The piece gradually attains dreamy proportions, its porous soundscape stirred by Hébert’s animated bass plucks over Smith’s shimmering vibraphone tapestry. Hébert and Smith, entwined in a finely woven rhythmic mesh, welcome Mitchell’s exploratory excursions before the theme is reintroduced with Ralph back in the foreground. The trumpeter solos over a vamping chordal sequence, following a notable piano riff in five embellished with thoughtful drum fills.

Ralph has mentioned that writing for trombone was a challenge, yet the arrangements emerge compelling and full of character. On “Relaxed Misery”, the blended sonorities of plunger-muted trumpet and trombone shimmer with remarkable freedom before converging into unison lines. Before that, a six-beat piano motif takes shape, supporting conversational bass interaction and soft, tickling cymbal work.

Ralph and Joseph display outstanding technical control on pieces such as “Of Trees (Variations on a Theme by TB)”, a spasmodic marching exercise delivered with swiftness, purpose, and contrapuntal finesse, and “Duck Face”, where Stravinsky’s classical influence merges with searing, agitated lines reminiscent of Ornette Coleman.

The shifting “Transitional Imagery” features trumpet and piano in perfect consonance while delivering angular melodies, whereas the strangely comforting “Sweet Spot” explores ballad territory with Smith at the vibraphone. “Nothing Is Dead” is another highlight, unfolding as an intimate, free-flowing rubato ballad wrapped in a melancholic aura. Its spaciousness is simultaneously poignant and warm, reinforced by Ralph’s refined lyricism and compelling storytelling.

The quintet’s chemistry feels immediate and organic, resulting in music that is both intricate and refined. Another strong offering by Alessi, A Sun That Never Sets explores fascinating tonal possibilities while injecting fresh impulses into the currents of contemporary jazz.

Favorite Tracks:
01 - A Sun That Never Sets ► 02 - Nothing is Dead ► 03 - Relaxed Misery ► 09 - Of Trees

James Brandon Lewis Quartet - Omni

Label: Intakt Records, 2026

Personnel - James Brandon Lewis: tenor saxophone; Aruán Ortiz: piano; Brad Jones: bass; Chad Taylor: drums. 

Raw expression, empathic interaction, and spiritual ascension are what you’ll find on Omni, the sixth album by sensational saxophonist and composer James Brandon Lewis with his working quartet. Described as “a sermon without words” by Kevin Le Gendre in the liner notes, the album picks up where Transfiguration (2024) left off, featuring vibrant themes and soulful improvised discourses that lift us heavenward with the force of unshakable faith and a profound search for self.

Lewis opens the album in solo mode with “Omnipotent”, followed by the feverish “The Sermon”, a surge of energy where the impressive rhythm section—Brad Jones anchoring everything with bass pedal points, Chad Taylor rock-solid on the kit, and Cuban pianist Aruán Ortiz applying understated harmonic coloration—creates the perfect foundation for Lewis’ impassioned language, often channeling the spiritual intensity of Coltrane’s A Love Supreme.

“Fire In My Bones” unfolds within an avant-garde framework, feeling playful, contrapuntal, percussive, and urgent, while “Testify” continues the album’s spiritual and emotional thread—recalling Archie Shepp—with a dash of American roots music in the mix. It’s a powerful modal piece whose incisive foundation leads to a bluesy cadence held together by Jones’ magnificent bass sound. Taylor’s martial snare work gives further impetus to the thoughtful improvisations of Lewis and Ortiz.

“Call to Worship” may be restrained in pace, but never in candor or puissance. Bowed bass, agile mallet work on toms and cymbals, and modal grandeur shape this spiritual awakening, where the musicians’ individual qualities perfectly serve the atmosphere with devotion and gravitas. “Spirit of the Living God” settles into a free-spirited dance driven by groove and polyrhythmic flow, contrasting with the beautiful, expressive saxophone-bass dialogue of “Omniscient”.

Riding the natural interplay between structure and improvisation, the James Brandon Lewis Quartet excels once again, proving itself an indomitable force in today’s spiritual contemporary jazz. The hand of the Creator seems to dwell within this music, and Lewis remains a remarkable vessel for its transmission.

Favorite Tracks:
02 - The Sermon ► 03 - Fire in My Bones ► 04 - Testify ► 06 - Call to Worship

Miles Okazaki - Boomtown

Label: Pi Recordings, 2026

Personnel - Miles Okazaki: guitar; Jon Irabagon: tenor and soprano saxophone; Anna Webber: tenor saxophone, flute; Caroline Davis: alto saxophone; Jacob Garchik: trombone; Kalia Vandever: trombone; Matt Mitchell: piano; Chris Tordini: bass; Hanna Marks: bass; Dan Weiss: drums.

Guitarist and composer Miles Okazaki’s ninth album as a leader, Boomtown Girl, showcases his progressive ideas and singular musical voice. Comprising 12 original compositions, the album derives its distinctive identity from the contributions of 10 exceptional musicians and improvisers who, while occasionally throwing a few upward jabs, always keep the collective spirit firmly in focus.

“Magic Hour” opens the album with a graceful sense of balance, its acoustic guitar-driven melody immediately palpable and its clustered harmonies intriguingly alluring. The horn players enrich the texture, helping transform the piece into a seductive, almost magical soundscape. This peaceful Threadgill-ish opening gives way to a markedly different mood on “Boomtown Girl”, which unfolds with a slow, dark-hued angularity as the horn section intertwines closely with Okazaki’s exotic guitar musings. Bassists Chris Tordini and Hanna Marks, together with drummer Dan Weiss, keep everything firmly within frame, and the piece gathers impressive improvisational momentum before arriving at an epic resolution.

Funk is not unfamiliar territory for Okazaki, who gradually shapes “Thermopolis” with crisp energy, stretching form and piquing curiosity through its interlocking parts. The groove, solidly anchored by bass and drums, is reinforced by the motivic interplay of Okazaki and pianist Matt Mitchell, inviting the horns to enter vibrantly in unison. Saxophonists Jon Irabagon and Caroline Davis engage in fleet-footed solo exchanges with Okazaki before the piece eases its intensity midway, embracing a more abstract impressionism. Circling in and out of focus, the soloists return with renewed force for a vigorous finale.

Trombonists Kalia Vandever and Jacob Garchik are granted ample improvisational space on “Diamondville” and “Bighorn”, respectively. The former is a poignant, atmospheric rubato ballad, while the latter is an odd-metered blowout built around a looping piano-guitar riff (giving its legato flow), fragmented drumming, and Irabagon’s multiphonic wails and moans on soprano saxophone.

Loose yet fluid, “Hole in the Wall” sparkles with guitar harmonics and pointillistic textures before opening into bluesy and funky terrain under a septuple meter. Saxophonist Anna Webber improvises with measured steps yet complete authority. “Devils Tower”, touting an outlandish fusion of modern creative jazz and alternative rock, demonstrates remarkable control of tempo, counterpoint, and texture. Like all the other pieces, it functions above all as a collective statement, despite the arresting solos by Davis and Okazaki.

As an original musical thinker, Okazaki continues to defy both established conventions and passing trends with something unmistakably his own. His hip phrasing and superb compositional craft are fully on display. The expertly sequenced material flows with irresistible momentum and quirky moods, offering layer upon layer of intrigue and wonder.

Favorite Tracks:
01 - Magic Hour ► 02 - Boomtown Girl ► 03 - Thermopolis ► 07 - Bighorn

Ferg's Imaginary Big Band - The New Atomic

Label: Trash City Records, 2026

Personnel - Fergus Quill: composition, arrangement, vocals + Imaginary Big Band.

Considered one of the hottest acts on the British scene, Ferg’s Imaginary Big Band is the primary brainchild of Leeds-based composer, multi-instrumentalist, and bandleader Fergus Quill, who also leads Electric Noise Ensemble and the Fergus Quill Trio. The band shifts in personnel but generally includes around 30 members, all contributing to the freeing, snazzy arrangements through a delightful collision of sounds. The influences range from jazz masters such as Sun Ra, Charles Mingus, and Duke Ellington to film scores and the experimental rock of Boredoms.

The mercurial “J Surfing on Saturn” rides an elemental yet impactful groove before plunging into blistering orchestral chaos, propelled by sly counterpoint and massive unisons poured out by the synergistic horn sections. The solos—packed with urgent flourishes of notes—unfold over staccato-infused rhythmic motion before ambient textures and classical-influenced piano glissandi usher in a slow, fanfare-like march crowned by immense horn power. It all culminates in a burst of wild, indomitable energy.

“Theme from The New Atomic” explores a galactic nebula through poignant intonations, while “Do the Right Thing” recalls Sun Ra’s exuberant Afro-funk universe, bolstered by Bess Shooter’s earthy baritone sax groove along with guitar elasticity, dense horn activity, and blaring sonic elements. The highly cinematic “¡Besszilla!”, referring to the Queen of the Monsters, is startling yet firmly grounded in feel. Its ominous bass and baritone saxes, smeared electric bass textures, and thumping percussive footsteps feel more menacing than celebratory, before a furious thrash-metal passage drives the piece toward a challenging conclusion.

Quill’s music combines the obvious with the eccentric, and he is not wrong when claiming that the elements are greater together than apart. This principle also applies to the album’s smoother moments, which arrive adorned with winning guest vocals. These include “Love Sick”, a rendition of Bob Dylan’s minor-key love song that here feels like a crossroads between the blues-rock of The Waterboys and the soulful R&B of Otis Redding; and “Same Sky”, which follows an Ellingtonian chord progression evocative of a finely crafted jazz standard, providing the perfect setting for the warm voice of Amy Clark.

The New Atomic provokes as much as it comforts, offering an exploratory, genre-defying repertoire that is unapologetically contemporary and rambunctious while remaining deeply respectful of the past. Adding further weight to the project, a portion of the album’s profits will be donated to War Child, supporting children affected by conflict around the world.

Favorite Tracks:
01 - J Surfing on Saturn ► 04 - Do the Right Thing ► 06 - ¡Besszilla!

Christian Dillingham - As It Relates To Now

Label: Shifting Paradigm Records, 2026

Personnel - Greg Ward: alto saxophone; Christian Dillingham: acoustic bass; Jeremy Cunningham: drums.

Christian Dillingham is a Grammy Award-winning bassist and composer with experience in both the jazz and classical music worlds. As It Relates To Now marks his third album as a leader and his first in a trio format, featuring prominent alto saxophonist Greg Ward and discerning drummer Jeremy Cunningham, both accomplished bandleaders in their own right. This highly compatible chordless trio, hailing from Chicago, embraces Dillingham’s new acoustic musings with warmth, acuity, and a strong collective purpose. Much of the inspiration stems from the social and political tensions of our times.

The title track opens the album with an upbeat pop-rock feel that is simultaneously soulful and grounded, adhering to a floating sense of gravity propelled by an earworm groove. Dillingham and Cunningham lock in instantaneously, creating a tight textural foundation for Ward’s crisp alto work, though it is the bassist who first steps forward with a resolute improvised statement. “Obsoletion” rings out with clarity and a welcome sense of risk, sounding cohesive and narratively compelling throughout. Dillingham’s dark timbral palette and robust tone play a crucial role in the piece’s expressive power.

Radiating a glimmering brightness, “Special Relativity” thrives on dazzling saxophone-bass unisons before settling into an insistent swing powered by Dillingham’s driving lines and Cunningham’s tasteful percussion. The track concludes with an exhilarating exchange of trading eights with the drummer. Equally committed to swing—thrusted by walking bass and skip-ride cymbal patterns—“Delusional Grandeur” is invigorated by an orthodox hard-bop spirit, proving that the trio remains deeply connected to jazz tradition.

The improvisation-free “Behind the Horizon” adopts a more solemn and atmospheric tone, underpinned by mallet work while arco bass and saxophone unfold in parallel motion. By contrast, “Wooden Laws” is structurally bold, its sparkling theme initially presented in seven before shifting seamlessly into a familiar 4/4 rock progression. This transition opens the door for Ward and Dillingham to develop their charismatic phrases and melodic ideas. Later, pungent rhythmic attacks steer the piece toward more abstract and exploratory terrain before the trio returns convincingly to the main theme.

Dillingham once again proves himself a thoughtful and purposeful bandleader. None of the individual performances, however strong, feels obtrusive; instead, each serves the collective goal of creating intelligible and easily relatable  contemporary music.

Favorite Tracks:
01 - As It Relates To Now ► 02 - Obsoletion  ► 05 - Wooden Lawns

David Ambrosio's Civil Disobedience

Personnel - Donny McCaslin: tenor and soprano saxophone; Ingrid Jensen: trumpet; Bruce Barth: piano; David Ambrosio: bass; Victor Lewis: drums.

Civil Disobedience, a formidable quintet led by American bassist, composer, and activist David Ambrosio—a strong presence on the New York scene for more than 30 years—focuses on the current state of America while honoring social change through nonviolent action. And what better way to do it than through music? The quintet clicks into place, performing five relatively obscure Blue Note compositions from the late 1960s by vibraphonist Bobby Hutcherson, drummer Joe Chambers, saxophonist/flutist James Spaulding, and composer-saxophonist Harold Land.

Reviving an irresistible, Art Blakey-like drive, Hutcherson’s “For Duke P. (aka XYZ)”, recorded in 1968 but not released until 1999 on The Kicker, opens the album in infectious minor mode and swinging fashion, evoking hard bop at its most contagious. Written for pianist Duke Pearson, the piece launches its improvisational section with a vibrantly melodic bass solo, leaving ample room for timely responses from veteran drummer Victor Lewis. The powerhouse frontline of tenor saxophonist Donny McCaslin and trumpeter Ingrid Jensen injects indomitable energy, guided by faultless narrative logic, superior articulation, and sharp motivic instincts.

Spaulding’s “A Time To Go” is an aching, dreamy rubato ballad dedicated to Martin Luther King Jr., sophisticatedly harmonized by pianist Bruce Barth, with Ambrosio’s bass lines providing the essential connective tissue. “Poor People’s March”—written by Land for the 1968 Poor People’s Campaign—flows in an animated 3/4 meter, unified by bright unison lines and inspired improvisational passages in which every member stretches out, creating a compelling sense of musical democracy.

The curiosity these compositions inspire is matched by their elegance, and the two pieces by Chambers exemplify that balance perfectly. “Irina” is a post-bop delight with a distinctly Wayne Shorter-esque aura. Introduced by Lewis’ marching snare, this exquisite modal number unfolds naturally through shifting meters and nuanced harmonic movement. On soprano saxophone, McCaslin injects tension and excitement, his notes rising and falling with resolute purpose, while Barth’s majestic keyboard sweeps guide the piece toward its conclusion. The other Chambers composition, “Ankara”, was, like “Irina”, recorded in 1968 but only released in 1980 on Hutcherson’s Patterns. Introduced by Ambrosio, who later settles into a finely crafted groove in seven, the tune arrives wrapped in a subtle exoticism, thriving on Lewis’ tickling hi-hat work and the inspired improvisations of Jensen and Barth.

With confidence and tenacity, Ambrosio’s Civil Disobedience—featuring superbly chosen repertoire and committed performances throughout—makes a great debut, emerging as a social and musical manifesto of the highest order.

Favorite Tracks:
01 - For Duke P. ► 03 - Irina ► 05 - Ankara

Chris Van Voorst Van Beest Trio - Bye Design

Label: Adhyaropa Records, 2026

Personnel - Chris Van Voorst Van Beest: bass; Zach Lapidus: piano; Nathan Ellman-Bell: drums.

New to me, Chris Van Voorst Van Beest is an American bassist and composer living in Brooklyn, New York. A member of the Danny Fox Trio since 2011, he also recorded with the late Frank Kimbrough on the vinyl-only album Meantime (2021). Here, joining forces with pianist Zach Lapidus and drummer Nathan Ellman-Bell, he gives his compositions well-defined structures, infusing them with contrast, counterpoint, and a subtle sense of uncertainty.

The jauntily rhythmic opening piece, “DDT”, showcases his ability to blend chamber jazz and contemporary classical elements with complete naturalness. Impeccable synchronicity, contrapuntal interplay, and effortless interaction define the trio’s approach from the outset.

Not given to sudden mood swings or radical transformations, the trio shapes “Reactor” through velvety brushwork, a firm bass foundation, and lyrical pianism whose poignancy recalls Bill Evans. Continuing along a similar path, “Rainy Day Music” offers a bewitching affability in waltz form. Also set in 3/4, “Bye Design” feels nearly telepathic as the trio gradually builds a compelling density, culminating in particularly salient drumming toward the end.

“Pastiche” flows naturally despite its challenging 5/8 meter and intricate rhythmic interplay. Simultaneously grounded and exploratory, it finds Lapidus’ piano blending with—and soaring above—the strong internal engine created by Van Beest and Ellman-Bell. “Open Broken” feels somewhat anti-climactic in its impressionistic third-stream current, especially when contrasted with the more energetic “Three Moods”, which closes the album on an uplifting note. Its epic contours within an advanced post-bop framework recall the orchestrational ingenuity of Charles Mingus. Throughout, the trio’s consonant sonic language is enriched by sly, insinuating hooks delivered with intention and control.

A little more friction would be useful at times, yet Van Beest’s imagination continually feeds the trio with organic frameworks, tonal sophistication, and a strong compositional identity.

Favorite Tracks:
03 - Rainy Day Music ► 06 - Pastiche ► 10 - Three Moods

Simon Moullier - Ceiba

Label: Self released, 2026

Personnel - Simon Moullier: vibraphone; Lex Korten; piano; Rick Rosato: bass; Jonkuk Kim: drums; Keita Ogawa: percussion (#2,5).

Dexterous 32-year-old vibraphonist and composer Simon Moullier offers new revelations with a keen sense of balance on Ceiba, his sixth album as a leader. Drawing from a broad musical vocabulary, the France-born, New York-based artist takes credit for all of the album’s vitally engaging compositions, delivering music that feels both fresh and firmly grounded. Inspired by the ceiba tree—a symbol connecting time, place, and people—the album benefits greatly from the extensive live work Moullier has done with his working quartet, featuring pianist Lex Korten, bassist Rick Rosato, and South Korean drummer Jonkuk Kim. Japanese percussionist Keita Ogawa appears as a guest on two tracks.

The enveloping title track, inspired by a Mozambican drum groove, opens the album with modal sophistication, occupying a space somewhere between Bobby Hutcherson and Kenny Garrett. Both Moullier and Korten display penetrating lyricism in a piece whose complex thematic material sounds remarkably effortless and smooth on the ear. “Lotus Pt. 2” extends the ideas introduced in the first installment on Elements of Light (2024), unfolding as a soothing ballad propelled by brushwork and crowned by a gorgeous vamp-driven finale.

“Fuji”, inspired by the iconic Japanese mountain, feels as though post-bop and Latin music have merged, recalling the emotionally charged fusion side of Pat Metheny. The piece is distinguished by advanced improvisational language and Ogawa’s colorful percussion, which also enhances the Brazilian-flavored “Baião”, a harmonically rich composition whose melodic contours evoke both Djavan and Toninho Horta. Pushing in a slightly different direction, Moullier also cites Djavan as an influence on “Apollo”, where a triumphant six-beat groove takes command.

“Iron Giant” is another modal tour de force, built around a bright and inquisitive theme, with Rosato and Kim laying the ideal foundation for the sure-footed improvisations that follow. “Ancient Ones” radiates post-bop brilliance in a waltzing meter, shifting the music’s weight without increasing its density. Written in Peru and inspired by the Andes, it balances elegance with momentum. “Mr. Hutcherson” is an uptempo post-bop romp driven by Rosato’s snappy walking bass and Kim’s effervescent drumming, serving as an unmistakable homage to the late vibist Bobby Hutcherson.

With a highly percussive attack, Moullier seems to sing through his instrument, functioning both as a commanding improvisational force and as the glue that gives the ensemble its distinctive identity. A refined melodicist with an exceptionally fluid musical language, he continues to deepen and expand his artistic voice.

Favorite Tracks:
01 - Ceiba ► 02 - Fuji ► 03 - Iron Giant

Helen Sung Big Band - Oracles

Label: Sunnyside Records, 2026

Personnel - Trumpets & Flugelhorns: Tatum Greenblatt, Mike Rodriguez, Alex Norris, Nathaniel Williford; Trombones: James Burton III, Sara Jacovino, Willie Applewhite, Gina Benalcázar (bass); Saxophones: Dave Pietro (alto), Alejandro Aviles (alto), John Ellis (tenor), Nicole Glover (tenor), Andrew Gutauskas (baritone + bass clarinet); Rhythm section: Helen Sung (piano), Vicente Archer (double bass); Adam Cruz (drums), Samuel Torres (percussion). 

You’ll find exquisitely crafted arrangements conducted by trombonist Alan Ferber on Helen Sung’s big band outing, Oracles. The 17-piece ensemble tackles her original compositions alongside tributary renditions with lyrical grace and passion. Here, Sung pays homage to her former teachers at the Thelonious Monk Institute of Jazz, those who have most profoundly shaped her artistic journey.

With faultless attention to dynamics and timbres, she opens the album with “Convergence”, a marvelous piece culled from her album Sung With Words (Stricker Street, 2018). A beautifully layered introduction places Andrew Gutauskas’s robust baritone saxophone one step ahead, prior to trumpeter’s Alex Norris energetic solo, embellished by vibrant horn fills and orchestral excitement. The piece then settles into a swinging drive that invites Sung and tenor saxophonist John Ellis to build daring statements.

“Samba Da Gumz”, by legendary trumpeter Clark Terry, receives a chamber-like, horn-centered treatment that flows directly into “Positively C.T.”, Sung’s affectionate dedication to him. This animated, swing-infused romp features spirited solos from alto saxophonist Dave Pietro and trombonist Willie Applewhite before erupting into a trumpet-driven climax involving all four trumpeters over a galvanizing, double-time blues form.

Fully committed to the date, Ellis remains a central presence throughout, especially on the pieces honoring saxophone giant Wayne Shorter: on “Diana”, soprano saxophone and keyboards intertwine gracefully in a measured duet, while Sung’s “Wayne’s World”, flowing effortlessly in five, combines rich harmonic movement, rhythmic ingenuity, and compelling improvisations from tenor and piano.

Authoritative bass master Ron Carter is celebrated in “Mr. Virtuoso”, a time-shifting composition that highlights vigorous activity in the lower register while baritone saxophone and bass trombone solos unfold with commanding presence. The band also delivers Carter’s uptempo “R.J.” with equal measures of exhilaration and conviction.

The album concludes with Horace Silver’s “Peace”, a performance focused on the serenity of the melody without relying on featured soloists. But before that, one indulges in the Pianism triptych, dedicated to Barry Harris, Kenny Barron, and Herbie Hancock. “Pianism III”, propelled by sharp rhythmic accents and Torres’ Latin percussion, finds Sung trading fours with several horn players in one of the album’s most engaging exchanges. 

Sounding more mature and imaginative than ever, Sung rises to the occasion with dazzling virtuosity. Based on what unfolds throughout Oracles, her mentors have every reason to be proud of her sophisticated orchestrations.

Favorite Tracks:
01 - Convergence ► 05 - Wayne’s World ► 06 - Mr. Virtuoso ► 11 - Pianism III

Florian Arbenz feat. Bill Frisell and Greg Osby - Quiet Lights

Label: Hammer Recordings, 2026

Personnel - Florian Arbenz: drums; Bill Frisell: guitar; Greg Osby: alto and soprano saxophone.

Swiss drummer and composer Florian Arbenz, known for his Conversation series, returns with Quiet Lights, featuring regular collaborator Greg Osby on saxophones and a new addition to his circle of musical associates: the remarkable Bill Frisell on guitar.

Boasting a deep Americana feel, “Homenaje” is layered with percussive dexterity, a coherent saxophone narrative, and a blend of bluesy and folksy guitar textures. Osby and Frisell drift in and out of the musical landscape before gradually bringing their lines into closer dialogue around the second minute. The trio becomes even more integrated as Frisell expands his chordal work, radiating beauty through his unmistakable tone. Osby responds with denser phrasing and a confident attack that heightens the tension, while the trio eventually plunges into a sleek, dance-like 12-beat rumba-inspired cycle. Also highlighting Arbenz’s affinity for Latin rhythms, “Rhumba” closes the album with a percussive pedal effect—emulating a bass line—and unexpected atmospheric gestures from Frisell, who subtly shapes the environment with electronics.

The mysterious “Chant” is initially underpinned by a sparse, dark-hued drone that, gradually allows light to seep in. Soft guitar textures are joined by shimmering cymbal colors and reflective soprano saxophone musings. The title track, “Quiet Lights”, carries a vibing quality and ambient pulse, weaving an elegant and refined texture. Arbenz employs custom-made percussion instruments alongside the drum kit, and the piece proves immediately accessible to the ear, much like “Lueget vo Berg und Tal”, a heartfelt reinterpretation of a traditional Swiss song reharmonized with cultivated taste.

On “Jammin’ in the Children’s Corner”, written by Arbenz for saxophonist Dave Liebman, the trio reveals especially compelling aspects of its chemistry. Here, rigorous preparation meets genuine spontaneity in an exhilarating journey marked by precise accentuation and a gravitational energy surrounding the alto saxophone lines over agile brushwork. Frisell’s punctuated observations emerge with sharp motivic instinct. “The Barradas Opening”, which alludes to Portuguese accordionist João Barradas, is a bluesy, groove-oriented slow burner distinguished by strong interplay and finely shaped unisons, bridging Americana and contemporary elements with ease.

Quiet Lights doesn’t really pack a punch, but unfolds gracefully without ever needing to force its impact, offering a charming and often introspective listening experience.

Favorite Tracks:
01 - Homenaje ► 02 - Chant ► 03 - Jammin’ in the Children’s Corner

Tyshawn Sorey - Members... Don't!

Label: Pi Recordings, 2026

Personnel - Adam O’Farrill: trumpet, electronics; Mark Shim: tenor saxophone; Lex Korten: piano; Tyrone Allen: bass; Tyshawn Sorey: drums.

Master drummer, multi-instrumentalist, and composer Tyshawn Sorey possesses a rare gift for blending composed and improvised material into richly rewarding forms. His new double album—recorded live at The Jazz Gallery—reimagines and reframes Members, Don't Git Weary, the landmark 1968 work by Max Roach, with the support of a brilliant quintet. Trumpeter Adam O'Farrill and saxophonist Mark Shim ignite the frontline, while the volcanic rhythm section features rising younger-generation talents: pianist Lex Korten and bassist Tyrone Allen. The result is astonishing—a series of expansive, long-form explorations shaped by open modal frameworks and fearless interaction. Like the album that inspired it, Members…Don’t! emphasizes resilience amid social unrest.

Stanley Cowell’s “Abstrusions” kicks off with a swirling dance between piano and trumpet, balancing convergence and divergence with remarkable fluidity. Sorey gradually folds drums and cymbals into the texture, integrating them organically into the evolving fabric, while Allen initially appears detached—an impression soon revealed to be deceptive. O’Farrill and Shim continuously push beyond conventional boundaries, darkening the sonic canvas without falling into haziness. Another Cowell composition, “Effi”, erupts into a blazing tour de force, with O’Farrill and Shim exchanging lines freely over the dense, overheated foundation. The music’s energy is utterly contagious, transforming the performance into a palpable act of collective resistance.

Bassist Jamie Merritt’s “Absolutions” begins with Korten’s unguarded pianism—simultaneously lyrical and abrasive—before O’Farrill enters with piercing commentary over dazzling chordal clusters. Strong polyrhythmic currents emerge, while tasteful electronic textures subtly enrich the modal atmosphere. Cowell’s “Equipoise” is divided into two parts bridging the transition between discs. Part 1 explores shifting meters, whereas Part 2—an 18-minute odyssey of luxuriant elaboration—features simultaneous trumpet-saxophone improvisations, a contemplative bass solo, an extraordinary piano dissertation buoyed by spirited cymbal splashes, and exhilarating bar tradings between O’Farrill, Shim, and Korten.

The second disc also includes “Libra” by saxophonist Gary Bartz, which the ensemble approaches from multiple perspectives, combining groove-heavy post-bop propelled by a firm backbeat with the spiritual intensity associated with Pharoah Sanders. Shim is particularly outstanding here, opening the improvisational field with husky-toned fluency and remarkable flexibility. Vocalist Fay Victor appears on the closing title track, adding another expressive dimension to the music.

Members…Don’t! burns with fierce conviction and creative urgency, emerging as a contemporary suite of tremendous vitality. Few musicians today possess Sorey’s combination of compositional sophistication, improvisational fearlessness, and experimental imagination. This is nothing less than a modern masterpiece.

Favorite Tracks:
01 - Abstrusions ► 02 - Effi ► 03 - Absolutions ► 06 - Libra